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CONDITIONS OF SALE 


I. Rejection of bids: Any bid which is not commensurate with the value of the 
article offered, or which is merely a nominal or fractional advance may be rejected by 
the auctioneer if in his judgment such bid would be likely to affect the sale injuriously. 

Il. The buyer: The highest bidder shall be the buyer, and if any dispute arises 
between two or more bidders, the auctioneer shall either decide the same or put up for 
re-sale the lot so in dispute. 

Ill. Identification and devosit by buyer: The name of the buyer of each lot shall 
be given immediately on the sale thereof, and when so required, each buyer shall sign a 
eard giving the lot number, amount for which sold, and his or her name and address. 

A deposit at the actual time of the sale shall be made of all or such part of the 
purchase prices as may be required. 

If the two foregoing conditions are not complied with, the lot or lots so pur- 
chased may at the option of the auctioneer be put up again and re-sold. 

IV. Risk after purchase: Title passes upon the fall of the auctioneer’s hammer, 
and thereafter the property is at the purchasers’ risk, and neither the consignor nor the 
Association is responsible for the loss of, or any damage to any article by theft, fire, 
breakage, however occasioned, or any other cause whatsoever. 

V. Delivery of purchases: Delivery of any purchases will be made only upon 
payment of the total amount due for all purchases at the sale. 

VI. Receipted bills: Goods will only be delivered on presentation of a receipted 
bill. A receipted bill presented by any person will be recognized and honored as an order 
by the buyer, directing the delivery to the bearer of the goods described thereon. If a 
receipted bill is lost before delivery of the property has been taken, the buyer should 
immediately notify the Association of such loss. 

VII. Storage in default of prompt payment and calling for goods: Articles not 
paid for in full and not called for by the purchaser or agent by noon of the day following 
that of the sale may be turned over by the Association to some carter to be carried to 
and stored in some warehouse until the time of the delivery therefrom to the purchaser, 
and the cost of such cartage and storage and any other charges will be charged against 
the purchaser and the risk of loss or damage occasioned by such removal or storage will 
be upon the purchaser. 

In any instance where the purchase bill has not been paid in full by noon of the 
day following that of the sale, the Association and the auctioneer reserve the right, any 
other stipulation in these conditions of sale notwithstanding, in respect to any or all lots 
included in the purchase bill, at its or his option, either to cancel the sale thereof or to 
re-sell the same at public or private sale without further notice for the account of the 
buyer and to hold the buyer responsible for any deficiency and all losses and expenses 
sustained in so doing. 

VIII. Shipping: Shipping, boxing or wrappmg of purchases is a business in which 
the Association is in no wise engaged, but the Association will, however, afford to pur- 
chasers every facility for employing at current and reasonable rates carriers and packers; 
doing so, however, without any assumption of responsibility on its part for the acts and 
charges of the parties engaged for such service. 

IX. Guaranty: The Association exercises great care to catalogue every lot cor- 
rectly and endeavors therein and also at the actual time of sale to point out any error, 
defect or imperfection, but guaranty is not made either by the owner or the Association 
of the correctness of the description, genuineness, authenticity or condition of any lot and 
no sale will be set aside on account of any incorrectness, error of cataloging or imper- 
fection not noted or pointed out. Every lot is sold “as is” and without recourse. 

Every lot is on public exhibition one or mcre days prior to its sale, and the Asso- 
ciation will give consideration to the opinion of any trustworthy expert to the effect that 
any lot has been incorrectly catalogued and in its judgment may thereafter sell the lot 
as catalogued or make mention of the opinion of such expert, who thereby will become 
responsible for such damage as might result were his opinion without foundation. 

X. Records: The records of the Auctioneer and the Association are in all cases to 
be considered final and the highest bid shall in all cases be accepted by both buyer and 
seller as the value against which all claims for losses or damage shall lie. 

XI. Buying on order: Buying or bidding by the Association for responsible 
parties on orders transmitted to it by mail, telegraph, or telephone. if conditions permit, 
will be faithfully attended to without charge or commission. Any purchases so made 
will be subject to the foregoing conditions of sale, except that, in the event of a purchase 
of a lot of one or more books by or for a purchaser who has not through himself or his 
agent been present at the exhibition or sale. the Association will permit such lot to be 
returned within ten days from the date of sale, and the purchase money will be refunded 
if the lot differs from its catalogue description. 

Orders for execution by the Association should be given with such clearness as 
to leave no room for misunderstanding. Not only should the lot number be given, 
but also the title, and bids should be stated to be so much for the lot. and when the 
lot consists of one or more volumes of books or objects of arts, the bid per volume 
or piece should also be stated. If the one transmitting the order is unknown to the Asso- 
Gatien. a deposit must be sent or reference submitted. Shipping directions should also 

e given. 

Priced Catalogues: Priced copies of the catalogue, or any session thereof, will be 
furnished by the Association at charges commensurate with the duties involved in copy- 
ing the necessary information from the records of the Association. 


These conditions of sale cannot be altered except by the auctioneer or by an officer 
of the Association. 


AMERICAN ART ASSOCIATION, INC., 


OTTO BERNET, MANAGERS, 


HIRAM H. PARKE, 
AUCTIONEERS, 


INTELLIGENT APPRAISALS 


FOR 


UNITED STATES AND STATE TAX 
INSURANCE AND OTHER PURPOSES 


AND 


CATALOGUES OF PRIVATE COLLECTIONS 


APPRAISALS AND CATALOGUES. Together with the increase in 
its exhibition and sales rooms, the American Art Association, Inc., will expand its 
service of furnishing appraisements, under expert direction, of art and literary 
property, jewelry and all personal effects, in the settlement of estates, for in- 
heritance tax, insurance and other purposes. It is prepared also to supplement 
this work by making catalogues of the contents of homes or of entire estates, such 
catalogues to be modelled after the finely and intelligently produced catalogues 
of the Association’s own Sales. 


The Association will furnish at request the names of many Trust and Insur- 
ance Companies, Executors, Administrators, Trustees, Attorneys and private 
individuals for whom the Association has made appraisements which have not only 
been entirely satisfactory to them, but have been accepted by the United States 
Revenue Department, State Comptroller and others in interest. 


THE AMERICAN ART ASSOCIATION, Inc. 
AT ITS 


AMERICAN ART GALLERIES 


MADISON AVENUE 
56TH TO 57TH STREET 


ENTRANCE, 30 EAST 57TH STREET 
NEW YORK CITY 


FIRST SESSION 
FRIDAY AFTERNOON, JANUARY 25, 1924 


IN THE ASSEMBLY HALL 
OF 
THE AMERICAN ART GALLERIES 


BEGINNING AT 2:30 O'CLOCK 


Catalogue Numbers | to 146, inclusive 


RENAISSANCE BRONZE PLAQUETTES AND MORTARS 


1—-Bronze Mepau Italian, Seventeenth Century 


Bronze medal representing a Doge of Venice, 1629. Below the bust an 
unknown signature, AE TS 78. 


2—-BronzE PLAQUETTE Italian, Seventeenth Century 


The bust represents Pianniccio, Duke of Parma e Piacenza, 1646—1694. 
Signed G T. 


3—-BronzE Mepar Italian, Seventeenth Century 


Bust representing Duchessa Isabella Carafa, 1626, with coat of arms and 
Virgin on either side. 


4—Gitt Bronze MeEpau Italian, Seventeenth Century 


Portrait representing Scipio Montibus. 


5—Bronze Mepan Italian, Seventeenth Century 
Portrait representing Pietrus Beretinus Cortone. Signed A. M. GR. 


6—Bronze Mepau By Leone Leoni; Italian, Sixteenth Century 
Portrait representing General Giovanni Battista Castaldus; on the 
reverse the General raising a female figure. (See Medalists by L. Forrer, 
p- 406.) Very rare. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


7—Bronze Mepan Italian, Seventeenth Century 


Portrait representing Isabella Monteapto, 1616. 


8—Bronzze MeEpa Italian, Siateenth Century 


Portrait represents, in armor, Andrea Carafa, Conte de San Severino, 
Vice-king of Naples, 1525. (See Armand, Médaillistes italiennes. Book 
Iisp. LOS Nosi2es) 


9—Bronze Mepar Italian, Fifteenth Century 


One side has a portrait representing Angelo Ambrogini, called Poliziano ; 
the other side has a portrait of his wife, dated’ 1454—1494. Very rare. 


10—Gitt Bronze Mepar Italian, Sixteenth Century 


Portrait representing Dominic Fontana, Conte Palatina, 1589. 


11—Bronze Mepar Italian, Sixteenth Century 
Portrait of Prospero Santo Crucino; on the reverse a fortress with 
date 1570. 

12—-Ovat Bronze PLaQuEeTTE Italian, Siateenth Century 


Design representing Bacchus. 


13—Bronze Mepau Italian, Seventeenth Century 


Portrait representing Petrus Gyron, duca di Ossuna, with date 1618; on 
the reverse a horse. 


14—-BronzeE Mepau Italian, Seventeenth Century 
Portrait representing Cardinal Vincenzo Costaguti, signed by Ameranus, 
1647. 

15—-Bronzze Mepa Italian, Fifteenth Century 


Portrait representing Nicola Orsini, Conte di Nola. 


16—Gitr Bronze Mepar Italian, Siateenth Century 


Portrait representing Henri II of France. This medal was made for his 
conquest in Italy in 1552. 


17—Sinver Meparu Italian, Sixteenth Century 


The portrait represents Alessandro Farnese, the Governor of Flanders 
under Charles V. 


First Session 


18—-Smatt Morrar 1n Bronze Italian, Sixteenth Century 
With flaring rim; exterior decoration consisting of four panels with 
shield-shaped devices, separated by projections. Light brownish patina. 


Height, 3% inches; diameter, 43/4, inches. 


19—Smartt Morrar 1n Bronze Italian, Sixteenth Century 
With slightly flaring rim, decoration of sirens, trees and griffons ; slightly 
flaring foot. Light brown patina. 


Height, 51% inches; diameter, 6%, inches. 


20—Smaru Mortar in Bronze Italian, Siateenth Century 
With bold flaring rim; on exterior a band of cherub heads, festoons and 
shield shaped designs. Dark brown patina. 


Height, 61% inches; diameter, 8Y2 inches. 


21—Bronze Bey Probably Early French or Spanish Work 


Bell found near Bordeaux in the late war. 
Height, 61% inches. 


EGYPTIAN, GREEK AND ROMAN BRONZES, STONE, 
TERRA COTTA AND GLASS 


22-—-Smatut Ficure 1n Buve Farence Egyptian, Eighteenth Dynasty 


A small seated figure representing Nefer Tem. 
Height, 2% inches. 


From the Samuel L. Austin Collection. 


23—-Ancient AmBER Guass Bow. Imperial Roman 
An amber glass bowl of most exceptional size; almost unique. 


Height, 3 inches; diameter, 41/4 inches. 


24—Smati Ficure in Green Giazep FarENcE Egyptian, Saite Period 


Figure of the goddess Ubasti with lion’s head. 
Height, 3 inches. 


From the Samuel H. Austin Collection. 


25—Ficure 1n Bive GuazE Egyptian Saite Period 


Small figure representing the child Horus. 
Height, 2% inches. 


From the Samuel H. Austin Collection. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


26—Ficure 1x Brituantr Brive Grazep Farence Egyptian, Satte Period 
Egyptian ushabtie. On the base is an inscription indicating that the 
work was made for Heru, a priest of Amen. Found at Deir-el-Bahri, 


Egypt. 
Height, 4% inches. 
From the Hilton Price Collection. 


27—STATUETTE OF A Kine in Bronze Egyptian, Saite Dynasty 
He is in a walking attitude, with his hands joined at the front. He is 
attired in a shenti, and wears a rayed cap bearing the ureus. On a 


wooden base. 
Height of figure, 7%, inches. 


From the Borelli Bey Collection of Alexandria. 
(Illustrated) 


28—FicurE OF A SCRIBE IN GRANITE Egyptian, Nineteenth Dynasty 


Small figure of a seated scribe, described in a hieroglyphic inscription as 


“Overseer of (?) Khonsu the justified.” 
Height, 3°4 inches. 
(Illustrated) . 


29—BronzeE STATUETTE OF Isis Egyptian, Ptolemaic Period 


She is seated with the child Horus, and wears the usual headdress of a 


disk with horns and the ureus. 
Height, 10 inches. 
From the Borelli Bey Collection, Alexandria. 


(Illustrated) 


, 
30—Smaty Ficure 1n Granite Egyptian, Egypto-Roman Period 
Statuette of the God Ptah, on a base of blue-green faience with a hiero- 
glyphic inscription signifying “Give Life O Ptah, beloved of Memphis.” 


Height, 4%, inches. 
(Illustrated) 


GLINVUD NI Saad NVIddADY—OE ‘8G ‘SON 


SULLANLVLS aAZNOUG NVILdAD'Y—66 OG “SON 


86 66 LG 0& 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


31—Gotp Rine with CarveD GEM Hellenistic Work 
A gold ring in which is set a carved carnelian; workmanship of the 
Hellenistic period. 


32—SraTuETTE IN Terra Corra Tanagra, Greece, Third Century B.C. 
Representing a dancer, draped in a himation, the left hand on the hip; 
the right hand drawing her dress over the right knee. High coiffure. 


Traces of coloring. Archaic style. 
Height, 8 inches. 


(Illustrated) 


33—STATUETTE IN TERRA CoTTa Alexandrian, Second Century B.C. 
Represents a priest standing. He is dressed in a tunic adjusted at the 
waist, over which is a mantle covering the shoulders. The hands are open 


and spread wide apart. On black wooden base. 
Height, 8% inches. 
(Illustrated) 


34—Sratrurrre in Terra Corra Tanagra, Greece, Third Century B.C. 
Represents a young woman standing, dressed in a himation, the right 
hand on her hip, the left hand holdmg the folds of her costume; the 


head is covered with the himation. 
Height, 91% inches. 
(Illustrated) 


SraTuettTes iN Terra Corta (T'anagra, Greece) 


Nos. 32-34 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


35—FicurE oF THE GoppEss CyBELE IN TERRA CoTTa 

Cyprian Sculpture, Second Century B.C. 
The figure served as the lid of a sarcophagus. The goddess is in standing 
attitude, with upper parts of the arms pressed to her sides, the fore 
arms (now missing) having been held out from the elbows. She wears a 
plain crown, cut low, covering a hood which falls at the back to the 
shoulders. Her attire is a Doric chiton, with a fold of drapery brought 
across the front; and the whole costume with the general design of the 
figure belongs to the fifth century B.C. The work, however, was executed 
at Cyprus in the second century B.C., no doubt after a full sculptured 
figure of three or four centuries earlier, but which is now lost. In excel- 
lent preservation, and a rare example of Cyprian sculpture. Found in 


Marsala, Sicily. 
Height, 5 feet 9 inches. 


No. 35—Tue Goppess CYBELE IN TERRA CoTTa 
(Cyprian Sculpture, Second Century B.C.) 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


36—Bronze Ficure or a Man Archaic Greek 
Apparently an athlete, he wears a conical cap, but is otherwise nude, and 
stands with his feet wide apart, and his arms held out in a fighting 

attitude. Found at Messina. 
Height, 514 inches. 


From the Pozzt Collection. Illustrated in “Le Musée” II, page 178. 


¥ 
37—BronzE STATUETTE OF THE GoppEss Usast1 Egyptian, Saite Period 
Represented with the head of a cat. She holds a sistrum in her right 
hand, and in the left a lion A.gis, while a basket hangs on her arm. 
Height, 34%, inches. 
From the Samuel H. Austin Collection. 


First Session 


38—Bronze Ficurre or A Man Roman, First Century B.C. 


He is nude except for a waist cloth, and a lacerna thrown over his left 
shoulder. He wears a Parthian conical hat with a leather band, the 
ends of which come down over the shoulders. Both arms are bent up 
from the elbows. A rare model in fine condition. On a red marble base. 


Found near Rome. 
Height, 9 inches. 


39—Smatut BronzE STATUETTE Egyptian, Twenty-seventh Dynasty 


Figure of a man holding a bowl in each hand. 
Height, 31% inches. 


40—Smartt Heap anv Bust 1n Bronze Early Imperial Roman 


Small head and bust representing Jupiter Ammon. 
Height, 4%, inches. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


41—Larcr Erruscan Copper CuisEL or AXE Fourth Century B.C. 


Made with curved edge, and with the sides raised for use as a wedge as 
well as a cutting implement. In perfect condition, with a green patina. 


Length, 13 inches. 


42—-SMALLER Erruscan Copper CuHIsEL or AXE Fourth Century B.C. 
Similar to preceding, but of smaller size. In equally good condition, and 


of the same period. 
Length, 74% inches. 


43—Bronze FicurE oF AN Oxtympran Victor 

Greek, Late Fifth Century B.C. 
Representing a nude youth standing at rest and wearing a crown of wild 
olive, significant of his triumph at one of the athletic festivals held every 
Olympiad. The sculpture is typical of the best work of its kind in the 
greatest period of Greek art, and evidently belongs to the school of 
Polyclitus the Elder. A bronze statuette of another Olympian victor and 
of about the same size as this is in the Louvre, but there is apparently no 


third one in existence. 
Height, 11 inches. 


(Illustrated) 


No. 43—Bronze Figure or AN Ortympian VICTOR 


(Greek, Late Fifth Century B.C.) 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


44—SraTurTTe oF A Faun 1n Bronze Greek, Late Fourth Century B.C. 


Probably represents Marsyas of the legend in which Athena, having 
invented the twin pipes, threw them down in disgust when she noticed 
from her reflection in a brook that her cheeks swelled out when she played 
them. Marsyas observed her from behind a bush, and started with 
amazement at the action of the Goddess, and it is this moment that is 
represented by the artist of the bronze. The work is of the period 
succeeding Praxiteles, and the figure shows the delicate and perfect model- 
ing of the school of this artist, but, judging from the strong neck 
and powerful limbs, the sculptor was also influenced by Lysippus. A 
noticeable feature in the work is the skill with which the artist has repre- 
sented the momentary repose between two steps in the action of the faun. 
Generally the work is of high importance and great rarity. Found in 
the province of Cordova, Spain, among ancient Carthaginian remains. 
On a red marble base. Height, 18 inches. 


No. 44—Sratuette or a Faun in Bronze 


(Greek, Late Fourth Century B.C.) 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


45-—Bronze Ficurre or a Man Greco-Roman Period 
He wears a large cloak of skins, which falls from his head nearly to his 
feet. Huis hands are tied behind him to the trunk of a tree, and he leans 
forward with strong effort as if to free himself. The subject is apparently 


unique in ancient sculpture. 
Height of figure, 8% inches. 


From the Pozzi Collection. Illustrated in “Le Musée,” Pp. lSh. 


46—Bronze Ficure or Victory Roman, Third Century A.D. 


Represented standing on a small globe. 
Height, 51%, inches. 


First Session 


47—Trirop 1n Bronze Archaic Greek, Sixth Century B.C. 
The tripod is mounted on the paws of a lion, and is of the regular archaic 
type seen on early Greek painted vases in representations of Hercules 
y fighting for the Delphic Tripod. It is ornamented with small nude male 
in figures. Similar tripods, but less fine in execution, are in the British 
Museum and at the Vatican. Found in the vicinity of Rome. 
Height, 2 feet. 
From the Kerkirian Collection. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


48—GRANITE URN Egyptian, Ptolemaic Period 


The urn has two handles and a cover. 
Height, 151, inches. 


49—Canopic VasE IN ALABASTER Egyptian, Saite Period 


The vase has a cover representing a human head. 
Height, 20 inches. 


From the Borelli Bey Collection. 


50—LarcEe Irmescent Guass Vase witH Cover 
Roman Glass, Roman Period 
Large vase with cover, beautiful iridescence. Found in a tomb in 


Ravenna. 
Height, 13 inches. 


51—-VasE 1N Onyx Roman, First Century A.D. 
The vase is shaped as a hemispherical bowl on a square base. 


Height, 161, inches; diameter, 151 inches. 


GREEK VASES 


52—Attic KyatHos 1x Terra Cotta Greek, Early Fifth Century B.C. 
The cup is decorated with black figures on red ground. ‘The painted 
scene, which is full of action and very finely executed, shows two heroes 
fighting over Sarpedon, who sits wounded on the ground. At either side 
are four spirited coursers apparently terrified with the din of battle: 
doubtless intended to picture the scene described by Homer (Iliad XVI), 
“The affrighted steeds, their dying lords cast down, scour o’er the fields.” 
The cup is thin and most delicately made,.while its condition is nearly 
perfect. The grouping of the horses corresponds with that on some 
of the well-known coins of Syracuse. 


Height, 5°4, inches; diameter at rim, 41% inches. 


(Illustrated) 


Coe hanquag yisiq hyo ‘yaatD)) VILOD VAUAT, NI SOHLVAY OILLY—ZgG ‘ON 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


538—CypriotEe Jar witH Lip Greco-Phenician, Seventh Century B.C. 


The jar has an unglazed yellowish surface decorated with formal flower 
and leaf patterns, which, however, have largely disappeared with age. 
The piece is almost unique, in that rising from the body to an inch or so 
above the rim are three molded heads of women, all in perfect con- 
dition. 

Height, 61, inches; diameter, 6 inches. 


54-—-CorRINTHIAN JAR Greek, Early Sixth Century B.C. 


Yellow ground is decorated with a frieze containing fabulous animals in 
black and red and, above and below this, bands of formal patterns. 
The colors are exceedingly well preserved, and the jar is a rare and fine 


specimen of early Corinthian work. 
Height, 6 inches; diameter, 6 inches. 


First Session 


55—AmpuHora IN Terra Cotta Greek, Fourth Century B.C. 
Amphora with black ground, red figures, representing on one side Thetis 
bringing the armor to Achilles, on the other the departure of warriors. 


Height, 141%, inches. 


56—Larce Vase (SkypHos) in Terra Cotta Second Century A.D. 


Large vase with cover and large handles, red figures on a black ground. 
On one side a scene representing the presentation of wedding gifts; on 
the other, a bethrothal scene. Upon the cover a scene with Eros. Tech- 
nique very rare; resembling the work of a pen. Beautiful workmanship. 


Found at Ruvo (Puglia). 
Height, 16 inches. 
From the Borelli Bey Collection of Alexandria. 


57—-Ampuora IN Terra CoTTa Italiote, Second Century A.D. 


Amphora with two handles, black figures on red ground; on the two 


sides lions with manes in white. Found at Pozzuoli, Italy. 
Height, 9 inches. 


58—-Pomprtan Fresco 1n Coxor Roman, First Century A.D. 


The design represents a man lifting a cupid from a cage which contains 
two others, while Venus is standing by watching the action. 


Height, 1 foot 10 inches; width, 1 foot 9 inches. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


59-——F resco Greek, Third Century B.C. 
Representing a griffon. In a wooden frame. Found at Boscoreale, near 
Pompeii. 


Height, 181 inches; width, 1514 inches. 


60—Ampuora IN TERRA Corta Archaic Greek, Fifth Century B.C. 


The amphora has a cover and a red background with black figures, poly- 
chromed in dark red. On one side, dance of the satyrs; on the other, the 
offer of the cock to the athletes. 

Height, 11 inches. 


61—Hypria 1 Terra Corra Greek, Third Century B.C. 


The vase is decorated with red and white figures on a black ground. The 
design is very unusual. On the ground is seated Hermes who is address- 
ing Aphrodite, the goddess standing to the right, with Eros suspended in 
the air and apparently also speaking to her. At the back of Aphrodite 
is a warrior with spears, and on the left of Hermes a woman standing. 
The subject seems to represent Hermes, assisted by Eros, consoling 


Aphrodite for the loss of Adonis. 
Height, 13 inches. 


(Illustrated) 


No. 61—Hypria 1n Terra Corra (Greek, Third Century B.C.) 


Kindly read the Conditions wnder which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


62—AtTtic CotumMN Krater 1n Terra Corta 

Greek, Fifth Century B.C. 
The krater is decorated with red figures on black ground in two scenes. 
In the first scene a nude man holds a vase in his hand while turning his 
head around; in the other, a man with a long knotted stick, who holds a 
cup in his left hand, faces a nude young man who presents to him a harp. 
Over the latter scene is a band of lotus buds, and below is a lotus bud 
chain in black on a red inset. Under the rim of the vase is incised the 
name “Simonos.” The work on the vase is of a high order, and seems to 
belong to the school of Euthymedes. To the knowledge of the writer no 


other vase exists bearing the name of Simonos. 
Height, 15 inches. 


Cod fanquag yifiq ‘yae1) ViILoD VuuA], NI YALVUY NWATOD 1LLY—zZ9 “ON 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


63—Larce Artic Krater in Terra Cotta 

Attic Greek, Fifth Century B.C. 
The krater is decorated with two scenes in red figures on black ground. 
In one scene Apollo is represented standing between Leto and Artemis. 
He has a harp under his left arm, and with his right hand holds a bowl 
toward Artemis, who is about to offer a libation. Leto also holds a bowl. 
The figures are of stately proportions and firmly drawn. Beneath the 
rim of the krater is a wide band of running palmettes, and below, over 
the scenes, are meander chains. The vessel is in fine condition, and is an 
excellent example of the highest period of Greek pottery. 


Height, 141% inches; diameter of rim, 1714 inches. 


y B.C.) 


« 


’ 


Fifth Centur 


No. 68—Larce Artic Kratrer 1n Terra Corta (Greek, 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


64—Amrpuora IN Terra Cotra Attic Greek, Siath Century B.C. 
The amphora has a black ground and is decorated with two scenes of 
black figures on red panels, In the first scene Dionysus is shown holding 
a long horn-shaped cup between two maenads and two satyrs, who are 
dancing. The second scene represents Briseis having on each side of her 
a warrior and a herald. A-lotus bud chain is painted over the scenes. 
The painting is of a very high order. 

Height, 181%, inches. 


First Session 


65—Ampuora witH Lip 1s Terra Cotta 
Attic Greek, Sixth Century B.C. 


The amphora is decorated with black figures on red ground in two scenes. 
In the first Dionysus stands between two satyrs, holding up a cup, the 
figures being set between palmettes and vine tendrils. The second scene 
shows Apollo with harp, and on either side of him a woman and a man, 
the former holding out the lower part of her chiton as if about to dance. 
On the neck of the amphora is a wide band of double palmettes, and at the 


base a lotus bud chain. 
Height, 19 inches. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


66—AmrpnHora IN TERRA CoTTa Greek, Seventh Century B.C. 
This is one of the earliest and rarest examples of ancient Greek pottery 
existing in America, and is of exceptional interest, since it must be one of 
the first Attic pieces in which the human figure was introduced to vary 
the conventional geometrical patterns. The decoration is arranged in 
unbroken friezes, with one containing animals above a meander, below 
which is the central frieze showing warriors with chariots apparently 
proceeding to battle. Beneath is a series of rings. A curious feature 
is the presence of plastic serpents on the handles and shoulder of the 
vase. While the general characteristics of the work are purely Greek, 
there are strong Mycenean influences present, and altogether the 
amphora must be regarded as of high importance in the history of 


Greek pottery. 
Height, 20 inches. 


(Illustrated) 


MAJOLICAS OF THE XV AND XVI CENTURIES 


67—Masotica PLATE Caffagrolo, Italy, Sixteenth Century 
The plate has a flat rim. It is invested with a white glaze and decorated 
in blue, green, orange and yellow, with scrolled escutcheons charged with 
the coat of arms of the Chigi family and the initials “C.R.,” the rim with 
heart-shaped medallions separated by diamond-shaped interlacements. 


Diameter, 9 inches. 


68—-Masoutica PHarmMacy Ewer Caffagiolo, Italy, Sixteenth Century 
Pear-shaped, with straight cylindrical spout and flat looped handle. It 
is invested with a white glaze and decorated in blue, with touches of green 
and yellow, and with the name of the drug and musical and military 


trophies. 
Height, 9 inches. 


69—Masouica ALBARELLO Caffagiolo, Italy, Early Sixteenth Century 
Cylindrical shape with incurved sides. Invested with a white glaze and 
decorated, in blue and orange, with shuttle-shaped medallions, rosettes 


and scrolls. 
Height, 121 inches. 


No. 66—Ampuora IN Terra Cotra (Greek, Seventh Century B.C.) 


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and sold. They are printed in the forepart of the Catalogue. 


Val 73 


70—PuHarmacy Ewer 1x Masotica 
Faenza, Italy, Early Sixteenth Century 
Vigorously executed decoration in bright blue, yellow and green. The 
center of the globular body has a wide label inscribed “S D PAPAVERO” 
(Syrup of Poppies) surrounded by a banded laurel garland and with 
acanthus scrollings above and below. Cylindrical neck, tapering slightly 


toward the mouth; straight spout and flattened handle. 
Height, 91% inches. 
From the Stefano Bardini Collection. 4 


71—Puarmacy Vase witH Twistep Hanpie in Masotzica 

Siena, Fifteenth Century 
The decoration is blue and orange on white ground. The globular body 
is decorated with vertical and horizontal bandings of impressionistic 
guilloche, zigzag and arch motifs. The front is imscribed in blue 
“Pantasilea” within a wide label; the back inscription is fragmentary. 
The twisted looped handles are impressionably decorated in blue and 
orange. (Glaze slightly chipped.) 


Height, 101% inches. 
From the Stefano Bardini Collection. 


First Session 


72—-Two-HANDLED VaAsE IN Magsotica Urbino, Late Sixteenth Century 
The vase has an elaborate all-over decoration, the front with grotesques, 
griffons, dolphins, etc., in yellow and blue on white, and with a central 
uninscribed tablet supported by amorini and dated 1600”; the reverse 
side, with graceful leaf decoration in blue. Twisted serpentlike handles, 
terminating in rams’ heads. Truncated ovoid body with low neck. 


Height, 18 inches. 
From the Stefano Bardini Collection. 


(Illustrated) 


73—Puarmacy VasE 1In Masouica Siena, Siateenth Century 


Elaborately decorated in blue, yellow and characteristic orange in scroll, 
acanthus, cornucopia and dolphin motifs. The front has a broad band 
inscribed “EY DINARI COSE.” Inverted pear-shaped body with short 
neck, Straight spout, connected by a twisted and encircling rope with 
the neck. Broad flat handle. 


Height, 11 inches. 
From the Stefano Bardini Collection. 


(Illustrated) 


(4—Masorica PHarmacy Ewer Caffagiolo, Italy, Stateenth Century 
Pear-shaped, with flat looped handle and straight spout with twisted 
support. Invested with a white glaze and decorated in blue, green and 
yellow, with a wreath of leaves and cones, a label with name of drug, 
and a ground diapered with dots and with scrolled leaves and flowers. 


Height, 81% inches. 
(Illustrated) 


75—Puarmacy Ewer ry Magsorica Faenza, Italy, Siateenth Century 
On the front an acanthus garland of very decorative design enclosing 
cornucopix, acanthus leaves and a wide band inscribed in blue “A (qua) 
Celidonia.” Globular body on high foot; shaped spout. Short, narrow 
neck, with flattened, ribbonlike handle. White, decorated in orange, blue 


and green. 
Height, 10 inches. 
From the Stefano Bardini Collection, 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


76—Derrr Puate 1x Masorica Faenza, Casa Pirota, Sixteenth Century 


It is ornamented in the center with a small medallion, polychromed, repre- 
senting the death of Cleopatra. The rest of the plate is decorated with 
the so called “Berettino” composed of foliage, vases and dolphins. On 
the reverse are geometric motifs. Diameter, 11 inches. 


a 


From the Engel-Gros Collection, Paris. 


77—-ALBARELLO IN Mago.nica Faenza, Italy, Sixteenth Century 
White, with gracefully executed decoration in blue of a boy in a monk’s 
robe, playing the cornemuse, the entire surface surrounded by delicate 
flower vines. Cylindrical, incurved body with low neck and foot. 
Height, 8 inches. 
From the Stefano Bardini Collection. 


“a 
Larece Vase 1n Magouica: A Brccuccio 


Italian, Castel Durante, Sixteenth Century 


78 


The vase has two handles; on the front is the coat of arms of the Pic- 
colomini family. The body is decorated with yellow ornaments and 
figures on a blue background. Height, 164 inches. 


First Session 


(rr 


Larce Puate in Magouica 

Hispano-Moresque, Early Sixteenth Century 
Made in the factory at Manises, Spain. In the center is the coat of arms 
of the great Count Manises, founder of the factory, with the bull and 
the rose. The border is gauffered in an exquisite design. Over the whole 
is a beautiful lustre in gold with ruby reflections. On the back are ara- 
besques in lustre. This plate is one among the very good specimens of 
this period. 


Diameter, 181% inches. 


80—VasE IN MagsoLica Faenza, Italy, Sixteenth Century 


Decorated in fine tones of dark blue on ivory white, with graceful floral 
scrolls of heart-shape and acanthus-leaf form, surrounding the wide cen- 
tral label inscribed “Aqua endivie.” Globular body with short incurved 
cylindrical neck. 
Height, 9% inches. 
From the Stefano Bardini Collection. 


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and sold. They are printed in the forepart of the Catalogue. 


81—Larcr Magsouica PLATE Deruta, Italy, Sixteenth Century 


In the broad deep cavetto is represented the portrait of a Florentine 
lady, probably a member of the great Salviati family of Florence, as is 
indicated by the coat of arms embroidered on the front of her gown. The 
arms of the Salviati family show the lilies and the “‘rastrera” given them 
by the King of France. To the left of the portrait winds a ribbon with 
the motto of this family “‘Chi biene vida sua barchia sempre in porto si 
truva” (He who guides his bark well always arrives in port). The 
rim of the plate is decorated with conventionalized palmettes and carna- 
tions. The whole plate, lustred in Deruta, is very exceptional; the lustre 
usually is yellow gold in color, while in this plate it is ruby-toned gold. 


Diameter, 161%, inches. 


First Session 


82—-Larcr Prate in Maso.uica Pavia, Italy, Early Sixteenth Century 


The factory at Pavia was founded by the Duke of Sforza, who ruled 
Milan. The work was cut in with a stick. In the middle of the plate is 
an unidentified coat of arms of a Milanaise family; around it are placed 
four medallions, in each of which is represented a Saint. The outer rim 
is decorated with a border of palmettes. The background is a deep 


mustard color and the relief is in yellow and green. 
Diameter, 1814 inches. 


83—Grovup in EnamMELED AND PotycHromep Terra Cotta 
Urbino, Sixteenth Century 
The group represents the Adoration of Christ in a grotto; on each side 
are two angels playing music; on the top, a group of three angels. Beau- 


tiful coloring. Very rare specimen. 
Height, 19 inches. 


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and sold. They are printed in the forepart of the Catalogue. 


84—PuaTEe In Magsotzica Gubbio, Italy, Sixteenth Century 


Made by an artist of Faenza and lustred at Gubbio. In the center is the 
representation of the wolf suckling Romulus and Remus, with a view in 
the background of trees and the Campidoglio; on the border is seen the 
man who saved the children from the river, and an old man representing 
The Tiber. The coloring is in beautiful tones of blue with lustre made in 
Gubbio. On the back rich lustering in a design of palmettes. 


Diameter, 944 inches. 


85—Larce Puate 1n Masouica Orvieto, Fifteenth Century 
In the center is represented the Crucifixion with two Saints, surrounded 
by an inscription and medallions in which are the busts of sixteen saints. 
Decorated in green and yellow. This is a fifteenth century reproduction 
of a Byzantine metal plate. Diameter, 15 inches. 


First Session 


86—-Larcre Vase 1n Magsonica 
Italian, Faenza (Casa Pirota), Sixteenth Century 


The body is ornamented with musical instruments, shields, armor, etc., 
in white on a blue ground. The front a beccuccio, beneath which is a 


circle with masks and other motifs. 
Height, 18 inches. 


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and sold. They are printed in the forepart of the Catalogue. 


87—Larcer VasE witH Two Hannes anp Foor 
Deruta, Italy, Siateenth Century 


On the center of the vase are two medallions representing young cavaliers 
in costume of the time. ‘The background of the medallion is brown, but 
the rest of the vase is white and blue with a beautiful lustre in gold with 


ruby reflections. 
Height, 101%, inches. 


From the Taylor Collection sold at Christie’s in London in 1912. 
(Illustrated) 


88—Warer Jar In Magsonica Pavia, Fifteenth Century 


Water jar in majolica, with portrait of a noble lady. Work cut in 


with a stick. 
Height, 8 inches. 


From the collection of Miss Walters Cacciola of Taormma, Sicily. 


89—PraevE Ins Maso.uica Mantua, Fifteenth Century 
The subject represents the Virgin and Child with a cherub’s head. The 
work is cut in with a stick and in bas-relief. In a red velvet frame. 


Height, 16 inches; width, 101% inches. 


From the collection of Miss Walters Cacctola of Taormina, Sicily. 


90—Titz Orvieto, Early Fifteenth Century 


Representating a coat of arms among branches. 
9 inches square. 


91—Smatt Vase In Farence Kirman, Persia, Siateenth Century 


Pear-shaped body, with cylindrical neck and two looped handles. In- 
vested with a crackled turquoise-blue glaze. 
Height, 5 inches. 


“ 


92—Smauu VAsE InN Farence Kirman, Persia, Sixteenth Century 
Pear-shaped body, with short cylindrical neck. Invested with a crackled 


turquoise-blue glaze. 
Height, 4% inches. 


(fanz uag yzuaaqary ‘hypzy “vjn4aqZ) LOO GNV SWIGNVET OM], HLIM aASVA TUV'T—Lg ‘ON 


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and sold. They are printed in the forepart of the Catalogue. 


93—Masouica Dish For Hotpine Ecos Faenza, Italy, Fifteenth Century 


Very rare form in the shape of an escutcheon. The top and bottom in a 
beautiful design of blue on white ground, all lustred. 


Length, 8 inches; width, 634 inches; depth, 3 inches. 


From the collection of Miss Walters Cacciola of Taormina, Sicily. 


94—-ScuULPTURE IN ENAMELED AND PoLycHrOoMED Magzgouica 
Faenza, Fifteenth Century 


The subject is the “Flight into Egypt.” The majolica has a great 
preponderance of manganese and copper green. Very rare specimen. 


Height, 18 inches; width, 13 inches. 


From the collection of Miss Walters Cacciola of Taormina, Sicily. 


al 


95—PuaevE In Masotica Faenza, Fifteenth Century 


The design is in relief and represents the apparition of Christ to St. 
Francis; red relief, white ground, yellow frame. 


Height, 19 inches; width, 18 inches. 


First Session 


96—-PriaauE IN Masouica Faenza (Casa Pirota, 1529) 


Majolica plaque representing the “Arrival of the Magi.” To the right, 
in front of the grotto, the Virgin is seated with the Child, and St. Joseph 
is standing with an expression of wonder and reverence on his face; in 
the background are the shepherds. On the left the landscape shows the 
star that guided the Magi on their journey to Bethlehem. The artist has 
treated this so oft-repeated subject in a manner all his own, which brings 
back to our mind the pictures of primitive Italian art. On the back of 
the plaque, within a coat of arms, is the inscription: “IN DEO SEM- 
PER”; below, J .S. MDXXVITIII N. PISAVRI. 
This plaque is done in very beautiful colors, light blue predominating; 
characteristic of the Casa Pirota. 

Height, 81, inches; width, 434, inches. 
From the collection of Miss Walters Cacciola of Taormina, Sicily. 


These plaques are very rare; another such is in the Carrand Collection in the 
Bargello Museum. 


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and sold. They are printed in the forepart of the Catalogue. 


GREEK AND ROMAN SCULPTURE IN MARBLE AND STONE 


97—Marste Heap anv Bust or APHRODITE Greco-Roman 


An excellent reproduction of a fourth century B.C. sculpture of the 


goddess. The nose is partly restored. 
Height, 21 inches. 


98—MarsrE Bust Roman, First Century A.D. 


Bust of a faun in marble, excavated at Boscoreale. 
Height, 21 inches. 


First Session 


99—-MarsLtE Heap anp Torso or A Younc BaccHANtT Greco-Roman 


The head is dressed with a wreath of vine tendrils and grapes, and a 
flower tendril passes down the body from the left shoulder upon which 
hangs a wine skin (partly broken away). The figure is an excellent piece 
of sculpture executed in the Greek manner. Found at Rome. 


Height, 141% inches. 


100—-Marsire Torso or A Man Greek, Third Century B.C. 
He wears a Doric peplos, which leaves the right side of the body exposed 
to the waist. The sculpture is of a high character. The torso probably 


belonged to the portrait statuette of an orator. 
Height, 101% inches. 


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and sold. They are printed in the forepart of the Catalogue. 


101 


SpuHrnx in MarBie Roman, First Century A.D. 
A very fine example of a shortened sphinx, and in nearly perfect condi- 
tion. Though of the Roman period, the work is apparently by a Greek 


artist. 
Height, 211% inches; base, 9 by 7% inches. 


102—Marsie STATUETTE OF APHRODITE Greco-Roman 
Reproduction of life-size figure, the type of which was very popular in 
late Grecian and Roman times. The figure is nude except for a fold of 
drapery falling to the ground from above the knees, where it was origin- 
ally held by one of the hands. The figure is a good example of the small 
work of the period. Found in Spain. The head is not original. 


Height, 231, inches. 


103—Two Marsie BaAs-RELIEFS Greco-Roman 


These reliefs are sections of a frieze. Each represents a group of 
menades taking part in a Dionysiac procession, the action being most 


skilfully rendered. 
Height, 1 foot 8 inches; width, 2 feet 6 inches. 
From the Borelli Bey Collection of Alexandria. 


(Illustrated) 


Roman) 


RELIEFS (Greco 


1083—Two Marsie Bas 


No 


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104—MarxsiE SarcopHacus Roman, Second Century A.D. 


The sarcophagus bears at the front a funeral design in relief. In the 
center is a portrait bust of a woman set in a medallion which is held by 
two male figures. There are also four women attendants, two of whom 
carry wreaths and another a torch. In good condition. 

Length, 2 feet; height, 9 inches; width, 12 inches. 


105—Marste Scuuprure In Hicw Rertrer Roman, Second Century A.D. 


Representing a procession of Bacchus. The god is drawn in a car by a 
centaur, and attended by sileni, fauns, menads, and a lion and leopard, 
the group being led by a man carrying a bullock on his shoulders. The 
scene is high-spirited and full of action, and the work is extremely well 
designed, the overcrowding of figures, common in this period, being 
avoided. The sculpture is set in a carved wood frame. 


Height of marble, 1 foot 614 inches; length, 4 feet 1 inch. 


First Session 


106—Marsie Heap or a Younc Man Greek, Fourth Century B.C. 
A young Greek with clean-shaven face and hair sculptured in short curls, 
a double fillet passing over the crown. This is a fine example of Attic 
sculpture and is particularly noticeable for its perfect condition, for it 
is very rare indeed that such a head is found with the features intact. 


Height, 9 inches. 


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and sold. They are printed in the forepart of the Catalogue. 


108——Marsue Bust of THE Emperor Commopus Roman, About 190 A.D. 
Represented as Hercules. He is nude save for a lion’s skin which falls 
at his back, with the feet brought over the shoulders, and tied in a knot at 
the front, while the head of the animal rests on his left shoulder. The 
hair and beard of the Emperor are shown in thick curls, as in all the con- 
temporary sculptured heads of Commodus. The work is of a very high 
class, and it is seldom that one sees so fine an example of Roman sculp- 
ture. Evidently the portrait represents Commodus as he was shortly 
before he was assasinated (192 A.D.). On a high marble pedestal. 


Height, 2 feet 7 inches. 


MarBLE Bust or THE Emperor Commopus 
(Roman, About 190 A.D.) 


No. 108 


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109—-Frmate Heap ty Parran Marsre Greek, Second Century B.C. 
Head of a woman with hair dressed close; part, probably, of a figure of a 


poetess. On red marble base. 
Height, 4 inches. 


110—MarsieE Ficure or a Boy Greco-Roman, First Century B.C. 
A nude boy who is holding a bird to his breast with both hands. 
Height, 2 feet 5 inches. 


111—Bencu 1n Pavonazzo Marsie Greco-Roman, First Century B.C. 


The seat rests on two supports, each representing a sphinx from the 
front view. In unusually good condition. Found at Boscoreale. 


Height, 2 feet; length, 4 feet; width, 1 foot 6 inches. 


First Session 


112—SrTaTvEtTTEe IN Pentretic MAarsLe Greek, Alexandrian Period 


The statuette represents Triptolemus, standing at rest, wearing a short 
tunic, his left hand falling at the side, and the right holding a bunch 
of wheat stalks (broken off short). His hair falls in flowing ringlets 
to his shoulders, and a fillet of wheat ears crowns his head. At his 
feet is a young boar, beautifully sculptured. The group is of excep- 
tional interest, both from the point of view of design and of the excel- 
lence of the sculpture, while it has the rare advantage for marbles of 
this period, of being in nearly perfect condition. Found at Terranova 


near Syracuse, Sicily. er é 
eight, 311% inches. 


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and sold. They are printed in the forepart of the Catalogue. 


113—Marsre Group: THe THree Graces Greek, Third Century B.C. 


The Graces stand nude, joined together by their hands on one another’s 
shoulders. On each side of the group is a tall vase with drapery hanging 
gracefully over it. An arm is missing from each figure, and the heads are 
modern restorations, made by Léon André of Paris. 

The design of this group is well known from the existence of a similar one 
(but without the vases) which was found in the fourteenth century during 
the excavations for the Siena Cathedral, in which edifice it now stands. 
This work suggested to Raphael the marvelous painting of the Graces 
now at Chantilly, in which, indeed, the grouping is scarcely varied at all 
from that of the sculpture. The extension of the base of the sculpture by 
the addition of vases is an admirable device, and the absence of these 
from the Siena group seems to indicate that it is a later work than the 
Canessa example. 

The principal feature in the group is the remarkable rhythmic harmony 
presented in the pose, the design almost suggesting that the figures are 
about to move together in a dancing step. This is brought about by an 
exquisite adjustment of the figures to the respective positions they oc- 
cupy, and a perfect balance of expression in the forms. The torsos are 
built up on ideal principles, subject to natural modifications necessitated 
by the character of the grouping, the whole work being a fine example of 
beautiful form and technical skill. Found at Capua. 


Height, 3 feet 614 inches; width, 3 feet 1 inch, 


Formerly in the Ferront Collection sold m Rome m 1909. 


eit ee 


Nhe ab ii: 
fea Sg 


- po 


No. 1183—Marsrie Grove: THe Turee Graces 


(Greek, Third Century B.C.) 


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114—Marpsre Torso: Lire-sizz Ficurr or APpHRODITE ANADYOMENE 
Greek, Third Century B.C. 


The model corresponds with the well-known headless statue at Syracuse. 
The figure is nude except for a single large fold of drapery which, in the 
complete statue, was gathered partly round the lower limbs, and fell to 
the ground. ‘Two corners of the fold are shown in the torso, lightly 
held at the base of the stomach by the left hand. The sculpture is of a 
very high character, and the torso must be classed as one of the really 
important Greek marbles in America. 

Height, without base, 3 feet 6 inches. 


Formerly in the collection of the sculptor, Comm. Gerace of Naples. 


No. 114—Marsrie Torso: ApHropirs ANADYOMENE 


(Greek, Third Century B.C.) 


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115—-SratvE oF ApHRODITE IN MarBLE 
Greco-Roman, or Early Imperial Roman 
The goddess stands at ease, with the right knee bent, and the weight of 
the body resting mostly on the left foot. She is attired in a long chiton 
of thin material, fastened on the right shoulder, and falling down loosely 
from the left, uncovering the breast. The right arm is held out and 
bent up from the elbow, the hand lightly holding a fold of the drapery. 
In the left hand is the apple awarded by Paris. The head and extremi- 
ties of the limbs are sixteenth century restorations. 
This figure is an ancient reproduction of the statue known as Venus 
Genetrix, a life-size example of which is in the Louvre. The origin of the 
design has not yet been settled. The Louvre figure is usually regarded as 
a reproduction of “Aphrodite of the Gardens” by Alcamenes, but this 
attribution was given to it by Furtwangler without any material evidence. 
Others give the original to Calamis, and others again claim that the 
Louvre statue is an original by Arcesilaus, an early Imperial Roman 
sculptor, though agreeing that the general type belongs to an earlier 
period. It is obvious, from the nobility of the design, the type of the 
head, and the character of the drapery, that the Louvre figure must be 
based upon a work of the latter part of the fifth or the early part of the 
fourth century B.C., even if it be not a direct reproduction of a work of 
this period; but it is scarcely likely that the point will ever be settled. 
The statue under consideration is clearly of the Greco-Roman or early 
Imperial Roman period, and must be placed as one of the best existing 
examples. . 
Height, with base, 8 feet 8 inches. 
This statue is from the collection of Cardinal Altemps. When this Col- 
lection was sold, most of the pieces were acquired by Pope Leo XIII 
for the Vatican, and four were bought by the late Mr. J. P. Morgan 
and are now wm his library. 


No. 115—Srtatrur or ApuropitE IN MarsBue 


(Greco-Roman, or Early Imperial Roman) 


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ROMANESQUE SCULPTURE IN STONE 


116—Carvep Stone PANEL Romanesque, Ninth or Tenth Century A.D. 


7 0) Representing two pairs of lions rampant in circles, connected with a 
5 Byzantine cross in front of an oak tree. It is a work of old Christian 
symbolism, examples of which are very rare. The period of the sculpture 
is fairly definite, but its locale is hard to determine, since at this time 
decorative work for sacred buildings was largely in the hands of monks 
who traveled from place to place over central and southern Europe. 


Height, 1 foot 91% inches; length, 5 feet 61% inches. 


117—Carvep STONE PANEL Romanesque, Ninth or Tenth Century A.D. 


Similar in workmanship to No. 128. Showing an ox and a lion facing 
each other in a forest on either side of an oak tree. 


Height, 2 feet 1% inch; length, 5 feet 61% inches. 


118—Cover or a SarcopHacus In PorPHyry Byzantine Period 
Sculptured to represent a child. Probably a memorial sarcophagus. 
The work is Oriental. There are examples of this work in the Vatican 


and in Venice. 
Length, 22 inches; width, 11 inches. 


119—ScunptTurep Lion 1N SERPENTINE 


Romanesque, Eighth or Ninth Century A.D. 


Representing a crouching lion in serpentine stone, of Eastern European 
design. Probably an architectural decoration for a religious building. 


Height, 101% inches; length, 15 inches. 


First Session 


SCULPTURE IN MARBLE AND STONE OF THE FOURTEENTH, 
FIFTEENTH, SIXTEENTH AND SEVENTEENTH CENTURIES 


120—Reuier 1n Marsite: THE VircInN AND THE APOSTLES 
French (?), About 1400 


Modeled in a depression forming a frame is seen, to the left, the Virgin 
wearing a closely fitting dress over which is draped a mantle covering 
her head, shoulders and lower part of her dress. Both of her hands are 
held up in a gesture of astonishment. Next to her, St. Peter is standing. 
He has short curly hair and a round beard, and wears over his gown a 
mantle draped in the Roman fashion; and he holds a key in his right 
hand, while in his left is a closed book. To the right is St. Paul. dressed 


[Continued on following page 


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and sold. They are printed in the forepart of the Catalogue. 


[ No. 120—Continued | 
similarly and holding in both hands a closed book. His hair is cut 
short and his beard is long. Behind are seen the heads of three other 
personages whose bare feet also show behind those of the Apostles, which 
are also bare, while the Virgin’s are shod. On the top is a frieze, showing 
in the center a cross on a shield, and at the right the letters S.M. The 
letters at the left are missing. 
Height, 1914, inches; width, 12, inches. 
There is in the Martin LeRoy Collection, reproduced in Catalogue I, pl. 27, an 
applied relief in gilded copper of the thirteenth century, Limoges workmanship, of 
which the representation is identical with this but without the frame. It is possible 
that it served as a model for it; it is also possible that both reproduce an unknown 
miniature or book-cover. Though this relief is identical with the Martin LeRoy 
group, which is of the thirteenth century, it is not possible to assign it to the same 
period owing to the inscription on it, which is of the late fourteenth or the beginning 
of the fifteenth century. 
(Illustrated) 


121—-Fremate Movurnine STATuEtTteE IN PAINTED STONE 
French, Early Fifteenth Century 


Represented facing to the front and standing on a low round base with 
hands folded in prayer. She wears a gown girdled at the waist and over 
it is a mantle covering her back and her shoulders and draped around 
her arms. On her head is a veil from beneath which shows a wimple 


framing her face. 
Height, 2014, inches. 


The facial expression and the pose of this figure are of exquisite charm. She is 
composed in the same spirit as some of the funerary statuettes of the late fourteenth 
century and some of the mourners from the tombs of the Dukes of Burgundy. There 
are also analogies with a statuette of a mourner in the Cluny Museum. (See reproduc- 
tions in Vitry et Briere: “Documents de Sculpture francaise du Moyen Age” pl. 97, 
pl. 114 and 115.) 

(Illustrated) 


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No. 121—Fremate MournineG StTatTuEtTtTe IN Painted STONE 
(French, Early Fifteenth Century) 


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and sold. They are printed in the forepart of the Catalogue. 


122—SraTvuETTE IN ParnTED STONE: Vircin AnD CHILD 

French, End of Fifteenth or Beginning of Sixteenth Century 
The Virgin is standing, wearing a closely fitted and gilded dress, over 
which is thrown a full mantle of the same color lined with blue. Her 
hair is parted in the middle and arranged over her ears. On her head 
is a crown. On her left arm, covered by the folds of her mantle, is 
seated the Infant, His naked body covered only with a drapery. His 
left arm is missing and with His right He is holding the Virgin’s dress. 
His hair is curly and His expression is smiling. The Virgin holds in her 
right hand a branch and on it is a bird, with head missing. 


Height, 1 foot 8 inches. 


There are some similarities with the Virgin of St. Giraud de Vaux in Bourbon- 
nais, reproduced in Vitry: “Michael Colombe et la Sculpture francaise de son temps,” 
p- 309. 


No. 122—Srarurrte in Paintrep Stone: Virgin anp CHILD 
(French, End of Fifteenth or Beginning of Sixteenth Century) 


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TINO DA CAMAINO 
Sculptor and Architect, Siena, Fourteenth Century. 


123—Marpsie FEMALE Statue oF A Virtus Attributed to Tino da Camaino 


The figure here reproduced represents a Virtue standing on a low hexa- 
gonal base and wearing a gown girdled a little below her breast-line and 
falling down in long straight lines. Over it is a mantle covering her back 
and shoulders and draped in front and over her arms so as to expose her 
bodice and the lower part of her gown. Her face is elongated with a 
round chin, almond-shaped eyes, a thin nose, high forehead and long 
neck. Her hair is arranged in serpentine locks around her head, and a 
small portion of it covers the back of her neck. On her head is a low 
crown. In her left hand she was probably originally holding a sceptre, 
while in her right is a white lily, the emblem of Virginity. 
The figure is full of nobility and distinction. She stands erect looking 
straight before her and has a serious but serene expression, and a noble 
countenance. The modeling is fine, the proportions harmonious and the 
draperies finely conceived. The draperies are treated in the Gothic 
spirit, while the type shows classical influence. 

Height, 3 feet 5 inches. 


The same statue of a Virtue is seen in the tomb of Mary of Valois, who died in 
1831 and who was the wife of the famous Charles Duke of Calabria. This tomb was 
executed by Tino da Camaino just before his death, as the last payment for it was 
given to his widow June 7, 13839. He also executed that of Charles of Calabria, who 
died in 1828, and both are erected in the Church of Santa Chiara in Naples. The tomb 
of Mary of Valois is composed in the form of a high monument with several divisions 
and supporting it are two figures of Virtues, of which the one at the right is exactly 
the same as the statue here reproduced. (See photograph at Brogi, No. 12420, where 
the tomb is erroneously said to be that of her daughter, Johanna I, Queen of Naples.) 
Part of the tomb is also reproduced in Venturi: “Storia dell’Arte Italiana,” IV, p. 281, 
Fig. 202. 


No. 123—Marsie Femate Stature oF a VIRTUE 
(Attributed to Tino da Camaino) 


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GIOVANNI ANTONIO DE AMADEI—catitep AMADEO or AMODEO 


Born in Pavia in 1447; died in Milan in 1522. Influenced first 
by Michelozzo and later by Mantegazza. 


124—Marre StTatuetTe: THE VirciIn oF THE ANNUNCIATION (?) 
Italian, by Giovanni Antonio de Amadet 
The figure is standing on a low base, her right knee slightly bent forward. 
She wears a gown girdled at the waist, with sleeves slashed at the sides. 
A mantle, the ends of which she is holding in her left hand, covers her 
back and left shoulder and is draped in front. Her hair falls loose on her 
back in long curly waves. On her nude feet are sandals. 
The statue seems to have been made about 1475, about the same time that 
Amadeo worked at the Colleoni Chapel in Bergamo. It belongs to his 
first manner when influenced by Michelozzo and by some of the produc- 
tions of the Milan Cathedral. The Colleoni Chapel, which so clearly 
brings out the characteristics of his first manner, shows two figures stand- 
ing on pedestals of the same style and workmanship, as this statue. (See 


F. Malaguzzi-Valeri: “G.A. Amadeo,” pp, 44, 45.) 
Height, 37 inches. 


No. 124—-Marsie Sraruerre: Tur Virein or THE ANNUNCIATION (?) 
(By Giovanni Antonio de Amadei) 


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POSSIBLY BY VINCENZO ONOFRI 


125—Srone Base Italian, Bolognese, Late Fifteenth Century 
Quadrangular, each of its angles decorated with winged sirens termi- 
nating in volutes. Branches of leaves, masks, shells, etc., complete the 
decoration of the base. Height, 1 inches; width, 12 inches. 
The same elements of decoration can be seen in the tomb of the Vescovo Nacci by 
Vincenzo Onofri about 1480 and reproduced in Venturi: “Storia dell’Arte Italiana,” 

VI, p. 804. 
Formerly in the Engel Gros Collection. Reproduced in Sale Catalogue, 

1921, p. 180, pl. No. 263. 


AGOSTINO DE FONDUTIS 


(Active in Padua, Milan and Piacenza) 
Lomparp ScuHoou: Late FirrerentH CENTURY 


126—A Bust 1x Marnie Possibly by Agostino de Fondutis 
Representing a Roman Emperor, facing to the front, shown below the 
shoulders, which are uncovered. Around his head is a laurel garland. 
His face is square, with slightly prominent and energetic features. 
Standing on an octagonal wooden base. Height, 834 inches. 


The attribution of this bust to Agostino de Fondutis is based on the fact that it 
shows characteristics found in the works executed by him, such as his busts in the 
Sacristy of San Satiro in Milan, reproduced in Malaguzzi-Valeri: “La Corte di Lodo- 


vico il Moro,” pp. 71-74. 
(Illustrated) 


No. 126—Bust 1n Marsie (Lombard School, Late Fifteenth Century) 


eo 


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and sold. They are printed in the forepart of the’ Catalogue. 


127—SrTaTvuEtTtTeE in Limestone: A Movurner 
French, School of Burgundy, Fifteenth Century 


Standing on an octagonal base and facing to the front is the mourner. 
His head, with hair cut short, is bent forward. He wears a large full 
mantle with a hood, and with a flap of his garment, which covers his right 


hand, he is drying his tears. His left hand is missing. 
Height, 1714, inches. 


This figure, so full of character and of interest, comes probably from one of the 
tombs of the Dukes of Burgundy, of which so many are now in museums and private 
collections. Comparing it with those in existence, we find it almost identical with one 
of the mourners from the tomb of Philippe le Hardi, Duke of Burgundy, who died in 
1404, now in the Museum of Dijon, and with another mourner in the Cluny Museum in 
Paris, both reproduced in Vitry: “Documents de sculpture francaise au moyen age,” pl. 
109, Nos. 1 and 9. There are also many similarities to a mourner from the tomb of 
Jean Sans Peur who succeeded his father, Philippe le Hardi, and who died in 1419, 
reproduced in Humbert: “La sculpture sous les ducs de Bourgogne,” pl. 28. 


First Session 


128—Marste Herarpic Leoparp Italian, Late Fifteenth Century 
The animal is represented sitting on a low base with his jaws open and 
his head turned toward the left. He is holding in his forepaws a shield 
blazoned with three “rencontres de boeuf.” 
Height, 161, inches; width, 1114 inches. 
Formerly in the Engel-Gros Collection, sold mm Paris m 1917. Repro- 
duced in the Catalogue, pl. No. 257. 


129—TapEeRNACLE IN Carrara Marsie Italian, Fifteenth Century 


In the middle opens a small door with frontispiece, flanked by two small 
pilasters surmounted by eapitals. In one medallion is the characteristic 
monogram of Christ: IHS. Below is seen the coat of arms of the donor, 
and the inscription which preserves his memory reads: PETRUS BATA 
DE LENIS. | 

Height, 2 feet 10 inches; width, 1 foot 81, inches. 


From the collection of Joachim Ferroni, Rome. 


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and sold. They are printed in the forepart of the Catalogue. 


ANDREA BREGNO, cattep atso ANDREA DA MILANO 


One of the foremost Roman sculptors in the second half of the 
fifteenth century. Born in 1421 in Osteno near Como; died in 1506 
in Rome. 


180—Marsie Group REPRESENTING THE VIRGIN AND CHILD IN A NICHE 
By a Follower of Andrea Bregno 


The Virgin, standing on a low base in a niche, is wearing a closely fitted 
dress over which is draped a mantle covering her head, shoulders and 
the front of her gown. She is holding a branch of flowers in her right 
hand, while the Infant Jesus is seated on her left arm. He is naked, 
holds an apple in His right hand and looks smiling toward his Mother, 
who also smiles. 

The niche shows a rounded arched top decorated with pearls, darts and 
oves, while the side panels show a decoration composed of vases, branches 
of flowers and leaf work. 

The group of the Virgin and Child, so charming in its simplicity, is 
composed in the purely Gothic spirit. The expression of the Virgin is 
of the greatest purity and the deep hatchings of her garments are char- 
acteristic of medieval workmanship. The way, also, in which she is hold- 
ing and looking at the Divine Child is still according to the Gothic tradi- 
tions. On the other hand, the ornamental decorations are composed 
in the Renaissance style. 

This relief originally formed part of a larger ensemble. It most prob- 
ably belonged to some tomb of which so many have been destroyed and 
of which fragments are scattered in Museums and churches. 


Height, 2 feet 111% inches; width, 1 foot 714 inches. 


In comparing it with works by Andrea Bregno we find many analogies. Taking 
for instance his altarpiece in Santa Maria del Popolo in Rome, executed in 1473 (re- 
produced in Venturi: Storia dell’Arte Italiana, VI, p. 949), we see figures in niches 
composed and decorated in the same way and putti holding shields of whom the types 
and modeling of the body are similar to the Infant Jesus. In comparing it further with 
the Virgin and Child from the tomb of Benedetto Superanzi in Santa Maria sopra 
Minerva in Rome and given to a follower of Bregno (Venturi: Vol. VI, p. 956, fig. 644) 
we find many analogies in the types and in the draperies. 


No. 130—Marsie Group: Virgin anp Cuitp In a NICHE 
(By a Follower of Andrea Bregno) 


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and sold. They are printed in the forepart of the Catalogue. 


TOMMASO FIAMBERTI 
CALLED THE 


“MASTER OF THE MARBLE MADONNAS” 


Active in Florence, Urbino, Cesena and Forli. Influenced by 
Antonio Rossellino and Mino da Fiesole. Late Fifteenth Century. 


131—Marsie Bas-rREvWIEF REPRESENTING THE VirGIN, CHILD AND ANGELS 
By Tommaso Fiamberti 
The Virgin, facing to the front, is seen in half figure. She wears a gown 
girdled at the waist, with a passementerie border around her neck and 
wrists. A mantle covers her shoulders and is draped in front serving 
as a support to the Infant Jesus, who is lying naked, holding a bird in 
His right hand. The Virgin, with hands crossed on her breast, adores 
Him, while two winged angels with floating draperies around their bodies 

are putting a jeweled crown on her head. Modern frame. 


. Height, 18 inches; width, 15 inches. 


Formerly in the Ferront Collection in Rome (Catalogue, 1909, pl. xxaix, 
No. 754.) 


The relief shows all the characteristics of a large number of works which have 
been grouped under the name of the “Master of the Marble Madonnas.” The bodies 
of the babies are plump, the eyes are almond-shaped, showing circles underneath, with 
eyelids somewhat swollen. The thin-lipped mouths are smiling. The expression of the 
faces as a whole, so typically in his manner, is derived from the art of Antonio Ros- 
sellino, while the treatment of draperies and hair shows clearly Mino da Fiesole’s in- 
fluence. His reliefs in the Bargello and St. Stefano in Florence, in Urbino, in Berlin, 
etc., clearly show the same characteristics. 4 

For comparison, see Virgin and Child in the Church of Del Sacro Eremo in Camal- 
doli, another in the Gambier Parry Collection and several in Berlin (reproduced in 
Bode: “Denkmiiler,”’ pl. 423 and 424, and in Frida Schottmiiller: “Die Italienischen 
und Spanischen Bildewerke der Renaissance,’ Nos. 156-159). All these works show 
the same characteristic shape of the eyes, mouth and hands, and garments similarly 
draped and the same particular way of modeling the wings of the angels. 

The “Master of the Marble Madonnas” has been recently identified as Tommaso 
Fiamberti by Giacomo de Nicola, Director of the National Museum in Florence. In an 
article published in Rassegna d’Arte, March, 1922, he groups under his name his 
signed and unsigned works and in the list of works which he gives he also mentions the 
relief we are concerned with here. 


CuiLtp AND ANGELS 


VIRGIN, 


y Tommaso F 


RELIEF: 


Marsie Bas- 


131 


° 


i) 


iambert 


(B 


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and sold. They are printed in the forepart of the Catalogue. 


BARTOLOMEO BELLANO 


Born about 1430-1435; died about 1492. Pupil of Donatello. 
Active in Padua, Florence, Perugia and Venice. School of Padua. 


1382—Marsut ReEvIEF REPRESENTING THE VIRGIN AND CHILD 
By Bartolomeo Bellano 


The Virgin is represented half-length, dressed in a pleated gown girdled 
at the waist and ornamented in front with a cherub’s head. Her thick 
and curly hair is parted in the middle and over it is draped a mantle 
partly covering her head and shoulders and draped in front. ‘The Infant 
clothed in a robe similar to the one of the Virgin sits on a cushion on the 
Virgin’s lap and reads from an open book which He is holding in His 
hand. The niche in which the group is represented is decorated with a 


garland sustained by rings. 
Height, 1 foot 11 inches; width, 1 foot 4& inches. 


The composition is well proportioned and of great charm. The facial expression 
both of the Mother and Child is of infinite sweetness, and the modeling itself is very 
fine. In comparing it with work by Bartolomeo Bellano we find many analogies with 
his signed and dated relief in marble in the Jacquemart André Collection in Paris 
representing the Madonna, Child and Angels, and of which there is a replica in the 
Berlin Museum (reproduced in Frida Schottmiiller: “Die Italienischen und Spanischen 
Bildwerke der Renaissance und des Barocks,” p. 107). We see that the flesh is of 
the same plump and soft quality, that the treatment of the hair of the Child 
is identical), that His ears and nose are shaped similarly and that the garments 
show the same hard folds, looking as if they were cut with a chisel. The head of the 
Infant shows the same large and characteristic proportions as the Infant in the relief 
just mentioned. The same can be said in comparing» it with the other works by Bel- 
lano such as his marble reliefs in the Sacristy of San Antonio in Padua. As for 
garlands suspended from rings we find them also in Bellano’s tomb of Antonio Rosselli 
in the chiesa del Santo in Padua (reproduced in Venturi: “Storia dell’Arte Italiana,” 
VI, p. 489). As for the way in which the Virgin’s hair is arranged, similarities can be 
found with his bronze statuette of “Ecate”’ in the Berlin Museum reproduced in 
“Archivio Storico del’ Arte,” 1891, p. 415. 

The relief as a whole is one of the most pleasing of Bellano’s creations, made at the 
time when he was strongly influenced by Florentine productions. 

Another example of the same relief is in the Quincy Shaw Collection in the Boston 
Museum of Art. 


No. 182—Maresue Reuier: Vircin anp CHILD 
(By Bartolomeo Bellano) 


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and sold. They are printed in the forepart of the Catalogue. 


MATTEO DI GIOVANNI CIVITALI 


Sculptor and Architect. Born in Lucca in 1436; died there in 
1501. Active in Lucca, Pisa, Genoa and elsewhere. 


183—A Tapernac LE IN MarBLE By Matteo Cvvitali 


The tabernacle is constructed in the form of a door and is decorated on 
the sides with candelabra, leaf-work and garlands. The base shows a 
six-winged cherub’s head surrounded by two volutes, while in the upper 
part runs a frieze with three winged cherubs’ heads. On top in the 
lunette is seen the Christ. He is represented half length holding an 
open book in His left hand while giving the benediction with His right. 
His hair and beard are long and curly and behind His head is a halo. 
An egg and dart pattern, oves, pearls and rosettes complete the dec- 
oration. 

Height, 6 feet 1 inch; width, 3 feet 1 inch. 


This tabernacle is characteristic of Civitali’s workmanship. The composition as a 
whole shows analogies with Civitali’s tabernacle in the Berlin Museum (reproduced in 
Frieda Schottmuller: “Die Italienischen und Spanischen Bildwerke der Renaissance 
und des Barocks,” p. 98, fig. 240). Christ in the lunette is very similar to the one in 
the Lucca Museum and the decoration on the side pilasters shows analogies with the 
ones on either side of the Annunciation in the same museum (both reproduced in 
Venturi: “Storia dell’ Arte Italiana,’ VI, pp. 702 and 695). 


No. 133—TABERNACLE 1N MarBLeE 
(By Matteo Civitalz) 


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and sold. They are printed in the forepart. of the Catalogue. 


ALESSANDRO VITTORIA (JACOPO ALESSANDRO VITTORIA 
DELLA VOLPE) 


Born 1525 in Trent; died in 1608 in Venice. Pupil first of Vicenzo 
Vicentini and later of Jacopo Sansovino. Active in Venice and in 


Padua. 


184—Marsie Bust REPRESENTING VINCENZO ALESSANDRI 
By Alessandro Vittoria 


Represented half length, facing to the front with head slightly turned 
toward the right. He is bearded and has a moustache and short curly 
hair. Over his tightly fitted garment is draped a mantle, in the fashion of 
the Roman Emperors, fastened with a clasp over his right shoulder. 
On the plinth is seen the following inscription: 


VINCS. 
ALEXANDRIUS 
A SECR®. SER™: 


REL Ve 
Height, 2 feet 74, inches. 


As indicated by the inscription, Vincenzo Alessandri was a Venetian Patrician 
and Secretary to the Republic. His portrait can be classed among the finest by Ales- 
sandro Vittoria. In comparing it with his many busts so full of expression and char- 
acter, we find most analogies in the treatment with his bust of Ottavio Grimani in the 
Berlin Museum and with the one of Jacopo Sansovino in the Seminario Patriarcale in 
Venice. The draperies and flesh are treated almost identically. The same can be said 
of the bust of Giovanni Contarini in the Berlin Museum, all three reproduced in Planis- 
cig: “Die Venezianischen Bildhauer der Renaissance,” pp. 482-483. As for the treatment 
of the hair, it is identical with that of the figure in bronze representing Saint Francis 
in the baptismal font in the Church of Saint Francis della Vigna in Venice, reproduced 
in the same book, p. 507, Fig. 546. 


No. 134—Marsie Bust RepresENTING VINCENZO ALESSANDRI 
(By Alessandro Vittoria) 


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and sold. They are printed in the forepart of the Catalogue. 


SCHOOL OF FRANCESCO LAURANA 


185—Marste Rewer Representinc Two Ancets Hoipinc a MEDALLION 
Italian Sixteenth Century 


On either side of the medallion is an angel wearing a floating and puffed 
gown girdled at the waist. They have wings and their long and curly 
hair is parted in the middle and surrounded with a ribbon. The medal- 
lion which they are holding and which is set within a laurel crown rep- 
resents the Pash of the Hebrews, which is thus described in Chapter 12 
of Exodus: “The Lord spoke unto Moses and Aaron in the land of 
Egypt saying: This month shall be unto you the beginning of months; 
it shall be the first month of the year to you. Speak unto all the con- 
gregation of Israel saying in the tenth day of’ this month they shall take 
to them every man a lamb according to the house of their fathers, a 
lamb for a house. Your lamb shall be without blemish, a male of the 
first year; ye shall take it out from the sheep or the goats—and you 
shall eat it with your loins girded, your shoes on your feet and your 
staff in your hand; and ye shall eat it in haste: it is the Lord’s passover.” 
This scene is represented here according to the tradition. In the center 
below is a cherub head. 

Height, 1 foot 4% inches; length, 2 feet 3 inches. 


It is interesting to compare this medallion with decorative details from the arch 
of triumph in Naples of which the greater part was executed by Laurana. In many 
of the figures we see a similar arrangement of hair, similar types and a similar way 
of treating the folds of the garments. 


First Session 


BY A PUPIL OF TULLIO LOMBARDI 


136—Mepauion In Marais, RepresENtING THE Porrrair or a Lapy 
Lombard School, First Half of the Sixteenth Century 
She is represented to below the neck, turned to the right. Her curly 
hair is parted in the middle and arranged over her ears in the antique 
fashion. A small portion of her frilled gown is visible around her neck. 


Height, 134% tnches. 


This medallion shows analogies with types by Tullio Lombardi in the arrangement 
of the hair and in the type itself. It is interesting to compare it with his busts in the 
Huldschinski Collection and with another in the Berlin Museum both reproduced in 
Leo Planiscig: “Die Venezianischen Bildhauer der Renaissance,” p. 252. 


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and sold. They are printed in the forepart of the Catalogue. 


GIOVANNI LORENZO BERNINI 


Architect and sculptor. Born in Naples in 1598; died in Rome in 
1680. Active in Naples and Rome, but worked also in Ferrara, 
Siena, Madrid and Paris. Roman School. 


137—Mars_te Bust in RELIEF By Giovannt Lorenzo Bernini 
The bust represents an elderly lady seen in profile and turned to the left. 
She wears a tightly fitting gown and a veil draped over her head and 
shoulders partly exposing her thick and curly hair. Around her neck 
is suspended a decoration. 

Formerly in the Villa Colonna at Capodimonte in Naples. 
Height, 3 feet; width, 2 feet 3 inches. 
This bust is of wonderful workmanship and is a characteristic example and among 


the finest of Bernini’s work. It is supposed to represent Doria Colonna and formerly 
adorned the Villa Colonna at Naples. 


No. 137—Marste Bust in Reiger 


(By Giovanni Lorenzo Bernini) 


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138—Vaskr 1n OrteENTAL ALABASTER Florentine, Sixteenth Century 


Beautiful quality of alabaster with two carved masks, one on either side ; 
the bowl part in the form of a fluted shell, on a molded base. There is 
a similar vase in the Pitti Palace. Very rare specimen. 


Height, 11 inches; length, 221% inches. 
From the Marquis Pucci Collection, Florence. 


139—GarcoyLEe In Marsie Italian, Sixteenth Century 
Representing a fantastic animal. Probably intended for a fountain. 
Height, 16 inches; length, 23 inches. 


140—GarcoryLE IN STONE Italian, Fifteenth Century 


Representing a fantastic animal resting on its paws. Probably made 
originally to decorate a fountain. 
Height, 14 inches; length, 24 inches. 


141—Two OrrenraL ALABASTER VASES Italian, Seventeenth Century 


The vases are of a classical design. 
Height, 23 inches. 


142—Two Orrentat ALABAsTER VASE Italian, Seventeenth Century 
Similar to the preceding. 
Height, 23 inches. 


First Session 


143—Two Vases in Carrara MarBLE Empire Period 
Exteriors carved, representing foliage and masks, with coats of arms. 


Height, 171% inches. 


144—Two Harr Cotumns 1x Breccra MarsieE 
Italian, Seventeenth Century 


Two round columns on square bases, from Verona. 


Height, 4 feet; diameter, 11 inches. 


145—-A Coutection or Firry-rour Carvep OrrentaL ALABASTER CAMEOS 
Italian Work, Sixteenth Century 


The cameos are carved from two strata of alabaster, giving them the 
appearance of onyx. The workmanship is fine and true to the style of 
the otiginals, which are the bas-reliefs on the arches of Trajan, Titus 
and Marcus Aurelius, some of which reliefs have since disappeared. 


With these cameos is sold the case and table in which they are arranged. 


146—Heap in Reirr: Cororep Terra Cortra Italian, Sixteenth Century 


Representing the head of St. John the Baptist as presented to Salome, 
mounted on an antique red velvet frame. 


Height, 101%, inches; width, 1014 inches. 


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